European producers anticipate a post-Brexit co-production boom | News

A panel of European producers spoke positively about the future of co-production in the wake of Brexit at a conference in the UK pavilion in Cannes held yesterday (Saturday 21), moderated by International Screen editor Matt Mueller.

The panel, titled ‘Passport to Europe’, featured Ed Guiney, co-founder of UK and Ireland-based Element Pictures, whose credits include Yorgos Lanthimos’ film The favourite; Mike Elliott of UK-based EMU Films, who co-produced Marleen Slot’s Viking Film in the Netherlands on Sacha Polak’s film dirty god and silver mist; and Janine Jackowski of Komplizen Film, whose Germany-based company co-produced Un Certain Regard Bodicea co-production Austria, Luxembourg, Germany, France.

When asked if there had been any ramifications of Brexit for his business, Guiney replied: “No, I don’t think so.

“Ireland is kind of a special case because we have a common travel area with the UK and Irish citizens have a right to live in the UK and vice versa, I imagine that will continue to exist” , he continued.

“UK producers are probably the most affected because they cannot access all the public funding in Europe, and for Irish producers there is an advantage there, because we are now the only English-speaking country in the Union. European.”

“There are little practical elements,” Elliott added. “You have to get visas for people coming in, you have all that stuff coming into the UK. If anything, when you’re trying to make debut films and independent films at a certain level of budget, [co-production] seems like the only way to pursue him now. There is no MG [minimum guarantees] more. You need to find out how to establish your financing plans. I believe there will be more [co-productions].”

Public funding

Producers have also appealed for public funding to support production at a more ambitious level. “We seem to be at the worst time now – SVoD [streaming video on demand] have gone down, costs are high, distributors aren’t bringing in the money, and there’s no theatrical market,” Guiney said. “In these circumstances, public funding becomes increasingly important. It is the only real source of funding. Public funding does things for non-commercial reasons.

“The EU has always been reluctant to invest in production,” he continued. “I would like to see more public money used to support production costs, not just development and distribution. It’s a shame because as European filmmakers become more and more important, they end up being mainly financed by the United States.

“In Germany, television, which usually accounts for a large part of the financing of our cinema, is now investing more and more in series. We are losing them as partners for film projects,” Jackowski noted.

While Guiney acknowledges that the theater is currently struggling, he anticipates a resurgence. “There is going to be a demand from the public, adult audiences over 30, to see extravagant, wild, daring and ambitious things. There is a market for that. Sometimes in Europe, we hesitate about the films we make.

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